The project “The Flood / Taşma” is an audio visual work planned to be shot with women from different ages living in small villages at the Turkish-Georgian border. (Due to the pandemic the preparation phase is postponed). Surrounded by a variety of animal and plant species, they live in a constant struggle to tame them, in the middle of the woods and endlessly wide valleys. The openness and breadth that this landscape has to offer stands in radical contrast to the lives of women, which are extremely restricted and determined by tradition and culture.
In spaces where the geography is providing a lot of room due to a low population, social norms “generally” pattern themselves as monocultural reality. In contrast to the largeness of the space the social identity and life requirements result in narrow orbits. Especially people from the disadvantaged side from the power configurations are largely effected by the restrictions of cultural norms.
My first vision about the film “The Flood / Taşma” appeared during my stay in a village in the city of Artvin: I saw children on trees, a child on each tree (filmed from below), the children were laughing loudly and uninterruptedly… Also other visions appeared after that: hairs sprinkled and pinched in the branches of a tree. In this trapped position, an ambivalent dance… Over time, the voices of women started to haunt me. They weren’t the voices they used usually. These were voices of what they wanted but always suppressed. The unsaid, the silent shouting of those voices grew louder. It was like just before an explosion … So came another picture of a woman on the top of a mountain: her face filmed conspicuously close, so that we see all her wrinkles and memories hidden in the wrinkles, her expression is tense, she screams and gradually her shouting turns into a song. The result is an opera, not an opera in the conventional sense, it is a mixture of raw shouting and microtonal intervals, as it could be composed by Georg Friedrich Haas or quoted from a traditional Eastern music.
Even-though the space and the allover context of the project is providing a very clear frame and imagery linked to it I must say that my interest rather lays in creating an open / universal language by talking about a subject which can be perceived as highly local. For this purpose I am willing to research on a bodily level what it means to carry suppression in the body and possible expressions of both choreographically and cinematically. I am interested in the placement of the “unsaid” in the body, in silent body parts which are serving as motors of expression of the oppressed. Hands, shoulders, feet, necks in close-ups both in most monotonous regular actions from the daily life and also in absurd ways where they begin to move autonomously, freed from the body, in an anarchistic roar. Another emphasis is in the choreographic research of it is the contrast between the openness/ largeness the space is tendering and the narrowness the restrictions of culture are causing.